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Arriflex 416 Plus Camera Package..... $79K USD Here is a link to the product on our website : https://broadcastsolutions.com/product/arri-416-plus-s16mm-camera-kit/ 1x ARRI 416 Plus Body (WHITE CODE Antenna) 1x ARRI 416 IVS PAL 4x 400ft Magazine 1x ELOKUVAKNOEPAJA Gold Mount Battery Plate w/ Built In Wicam Analog – HD Video Converter 2x Arri OBB-2 416 Batteries And Charger 1x Arri UMC Antenna 1x Arri Rubber Eyecup 1x Arri Heated Eyecup 1x Eyepiece Extension 1x Duvetail 1x ARRI LWS-5 1x ARRI BP-10 1x SRB-2 1 LRB-2 1x Steadicam Plate 2x 15mm Rods 1x ARRI 416 Shutter Tool 1 1x Ground Glass 1.78 1x Rolling Pelican

Price $32K Includes: 2- A-Minima Cameras, All AKS, Kodak Film & Underwater Housing Serviced In May 22 By Andree @ AM Camera Items Included : CAMERAS Aaton A-Minima #095 No Video Aaton A-Minima #A031 HD Tap MAGS 200' #084 200' #085 200' #086 200' #AM301 200' #AM302 200' #AM304 BATTERIES & CHARGERS Aaton Cha-3 dual smart 4 pin charger Osha 6' Cable 1x Aaton on-board A-Minina Battery 15x CR-123A batteries in 200' can LP-E6 Charger 2x LP-E6 batteries CABLES XLR 4 pin to Lemo 6 power cable 7' length XLR 4 pin to Lemo 6 power cable 14" length XLR 4 pin to On-board battery charging 15" SDI Ultralight 16" SDI Ultralight w/ right angle connectors AKS 2x Domke 18x18" soft wraps Asst. Dividers, Padding Nikon hard mount w/ hardware Aaton 15mm wood handgrip w/ 2 pin Cable Watec LCL 211H Analog Video tap assembly Video port screw cap in ziploc bag 2x 2.5" screw rods* 2x 4.5" screw rods *no powerbase included SmallHD 502 Monitor w/ LP-E6 plate Smallrig 3/8" to 1/4" 20 tilt adj. bkt. w/ washer 15x 200' Spools 1 set small Phillips and flathead drivers 2x hand straps 12x Kodak Factory Sealed Minima Film Underwater Housing fits the Minima without the tap on it. Another HD tap can be provided and installed for an additional 2500 USD. CASES Pelican 1510 Case Flight Case, Custom Foam w/ attic, 21.5x13.25x9 Flight Case, Custom Foam, 22x14.5x9

For Sale : Arri Amira Camera Package $19K US. More pics upon request. Hours 1850 Sensor Was Calibrated And Camera Inspected At Arri 12/22 Viewfinder and VF cable PL mount Base plate Top handle AC power 8x128gb CFast Cards

After the actor walked by the main camera, the mystery camera took position. Camera looks to be attached to the main camera. Screen photo from Superbad 2007 movie.

For Sale : Sony A7SII Camera Kits Quantity : 3 Email sales@broadcastsolutions.com for pricing.

For Sale : Panasonic Varicam LT Kits Quantity - 4 Email sales@broadcastsolutions.com for pricing.

Selling RED Epic-X Dragon 6k Kit which includes the following: 1. Red Epic-x Dragon 6k brain 2. RED bottom plate with 15mm Rod adaptor 3. Red Pro 5” Touch Monitor 4. Red Bomber EVF 5. Two Lemo Video cables 6. Top Red plate 7. Red Side handle 8. 512GB Red Mini-mag 9. Red Top Handle 10. Wooden A-Box for Audio 11. V-lock adaptor 12. I/O back expander 13. Mini-mag Reader 14. Red EF Adaptor 15. Red Pro monitor tilt adaptor 16. OLPF for Low-light, highlight-skin-tone, and standard 17. Pelican Hard-Case 18. Magic-Arm for EVF 19. V-lock charger 20. 2 V-lock batteries 21. RED Tactical cage Around 600-700 hours run time, great condition and well looked after. Had some cable damage to the V-lock adapter so I've been using a D-Tap cable which is included. Really enjoyed using this camera. Happy to provide more images. Asking price £9,000 (London based collection only).

Hi, is anyone willing to share their knowledge on using the Arricam system of cameras? I’ll be shooting with the Arricam LT and I don’t have any experience with it (or film cameras, in general). Regarding battery solutions, the Anton Bauer Cine VCLX batteries seem to be the closest thing to the de facto standard battery for this 24V camera. And while I’m open to using a block battery, I’m curious if there are any other preferred battery solutions, especially concerning hand-held use. While I’ve heard of battery belts, I’ve never used one myself and I don’t know how comfortable I am strapping large batteries around my waist. Maybe it is a good solution though, considering the alternatives. How much wattage does the camera consume while filming at different speeds? It’s been difficult to find this information. The manual states the Power Bridgeplate is the standard plate used with this system. Will other ARRI plates, such as the BP-8 bridge plate, fit as well? The standard video assist system (IVS) operates on the aged NTSC/PAL system (and I have little hope of getting my hands on the HD-IVS). It seems the best signal output is S-Video. This isn’t an ideal connection for production use, but can anyone recommend a monitor that has an S-Video input? Or, should I just stick with the BNC Composite signal? Or, is it worth it to use a convertor box to covert the signal to SDI? Any modern-day, practical advice regarding these cameras would be very helpful. Thanks!

AATON LTR Camera Package omar@raw-entertainment.com $13,000

ALEXA LF Pro Camera Set $115,000 omar@raw-entertainment.com ALEXA LF Pro Camera Set, 2 TB Includes: 1x ALEXA LF Basic Camera Set for Pro Set, 2 TB 4x Codex SXR Capture Drive 2TB 1x ALEXA LPL LF FSND Filter Set, Full 1x ALEXA Bundle Accessory Set, EV/Plus/W/LF Note 1: Docks or on-board battery adapters are not included and can be ordered separately. Note 2: For use with FSND filters, the included FSND shim has to be installed to assure proper flange focal depth.

For Sale : Arri Alexa Mini LF Camera Package 777.34 Hours Price : $75K US Contact sales@broadcastsolutions.com for details.

For Sale : Arri Alexa Mini LF Camera Package 777 Hours Price : $75K US Contact sales@broadcastsolutions.com for details.

$35K US License Included: ArriRaw & 4:3 Hours: 2702 Arri Alexa Mini Arri Titanium PL LDS Mount w/LBUS port Arri MVF-1 VF #8512 VF Cable qty-2 CCH-2 Center Camera Handle MAP-2 Mini Adapter Plate qty.- 2 MSB-1 Mini Side Bracket qty-2 MVB-1 15mm Mini VF Bracket /2x 15mm Rods & 19mm VF MAP-1 Mini Adapter Plate CSP-1 Shoulder Pad w/15mm Mt. ECS Antenna BAP-1 Battery Adapter w/15mm Rod Mt IDX V-Mount Battery Plate w/Power Cable For Alexa Mini Lexar USB3/Thunderbolt 2 CFast Card Reader SanDisk USB3 CFast Card Reader Thunderbolt 2 Cable USB3 Cable (Type-A/Type-A) USB3 Cable (Type-A/Type-B)

I'm so sorry to sell my lovely baby but I need some money for a next project. For sale : - 1 Arriflex 16 SR1 PL mount, upgraded in Super 16 by P+S Technik ( Munich). "Evolution Upgrading Program" by P+S Technik was a complete change of electronic mother board, new speed controller with screen ( intervallometer function on ), new mechanics, new viewfinder with better magnification, new black painting on whole camera body and magazines. - 2 Super 16 magazines. - 1 battery ( new cells) - 1 Arri battery charger - 1 VSU speed controller - 2 handgrip-trigger ( one broken, other one is ok) - 1 blimp - 1 matte box - 1 soft foam shoulder pad - 1 changing bag I join also some spare parts : - 2 new and unused lightmeters - 1 Arri SR2 motor - 1 normal 16 gate - 1 normal 16 ground glass Kit located in Europe ( Czech Republic). If you want to visit me for a local pick-up, you are welcome !! price : 3000 euros + shipping taxes. Lens is not included in the package ! Only here for the picture ! High Res pictures, informations and demo videos on demand : dartwiller@yahoo.fr

Arri Mini Alexa LOW HOURS 1400 Price: $39k Ready to Shoot Package omar@raw-entertainment.com Omar Alarian COO / Film Producer IMDB: www.imdb.com/name/nm7440967/ Raw Entertainment www.raw-entertainment.com Gold Sponsor: www.cinematography.net Sponsor: www.cinematography.com Latest Feature Film Trailer Welad Rizk: youtu.be/KbuuzxTxhP4 Youtube Channel: youtube.com/c/RAWegypt Instagram: instagram.com/rawegypt?igshid=YmMyMTA2M2Y= Facebook: www.facebook.com/rawegypt Address: 55 Abd El-Haleem Hussein Ad Doqi Dokki Giza, Egypt Cell: +2 010 996 7575 3 USA: +16176104227 omar@raw-entertainment.com

JUST LISTEDArri Alexa Mini Camera Package Hrs.- 4604 $29KArri Reconditoned The Sensor 5/21Licenses Included ARRIRAW & Anamorphic1 - Arri Alexa Mini PL Mount 1- Arri Alexa Mini MVF - m1 ML EVF 2 - Arri Alexa Mini EVF Cable 1 - Arri Alexa Mini MVB - 1 EVF Mounting Bracket 2 - Arri Alexa Mini Side Bracket (MSB-1) 2 - Arri Alexa Mini Adapter Plate (MAP-2) with LWS 1 - Arri Alexa Mini Bridge Plate Adapter 1(BPA-4) 1 - Arri Alexa Mini Center Camera Handle (CCH-2) 1 - Arri Alexa Mini Battery Adapter Plate (BAP) 1 - Arri Alexa Mini WC D-Box 2 - 15mm Iris Rods - Short 1-6” 1 - Arri Alexa Mini 24V Power Cable 1 - Wooden Camera A- Box With Spud - (Alexa Mini) 2 - Arri Alexa Mini 12v Power Cable - 4-Pin XLR to 4-Pin XLR 2 - Arri Alexa Mini 4” 15mm LWS Rods 1 - Alexa Mini CSP - 1 Compact Shoulder Pad 1 - Codex CFast Reader With USB 3.0 Cable 1 - Arri Alexa Ethernet Cable (KC 153-S) 1 - Arri Alexa Plus/Mini Camera Antenna 1 - Alexa Mini USB Memory Stick 1 - 19mm Bridge Plate - Wooden Camera 1- Pelican Case

JUST LISTEDArri Alexa Mini Camera Package Hrs.- 4604 $29KArri Reconditoned The Sensor 5/21Licenses Included ARRIRAW & Anamorphic1 - Arri Alexa Mini PL Mount 1- Arri Alexa Mini MVF - m1 ML EVF 2 - Arri Alexa Mini EVF Cable 1 - Arri Alexa Mini MVB - 1 EVF Mounting Bracket 2 - Arri Alexa Mini Side Bracket (MSB-1) 2 - Arri Alexa Mini Adapter Plate (MAP-2) with LWS 1 - Arri Alexa Mini Bridge Plate Adapter 1(BPA-4) 1 - Arri Alexa Mini Center Camera Handle (CCH-2) 1 - Arri Alexa Mini Battery Adapter Plate (BAP) 1 - Arri Alexa Mini WC D-Box 2 - 15mm Iris Rods - Short 1-6” 1 - Arri Alexa Mini 24V Power Cable 1 - Wooden Camera A- Box With Spud - (Alexa Mini) 2 - Arri Alexa Mini 12v Power Cable - 4-Pin XLR to 4-Pin XLR 2 - Arri Alexa Mini 4” 15mm LWS Rods 1 - Alexa Mini CSP - 1 Compact Shoulder Pad 1 - Codex CFast Reader With USB 3.0 Cable 1 - Arri Alexa Ethernet Cable (KC 153-S) 1 - Arri Alexa Plus/Mini Camera Antenna 1 - Alexa Mini USB Memory Stick 1 - 19mm Bridge Plate - Wooden Camera 1- Pelican Case

Hi, I'm a student working on my first short film for a class. I checked out all the equipment I needed to start shooting including a Bolex H16 Reflex movie camera. I put a wind in the camera, went to load the film into it, and realized that it won't run! So now, the camera has sat overnight with a wind in it that I have no way of getting out. And seemingly no one else has had this issue because I couldn't find it in any forums. Can ANYONE please help?!?!?! I'm totally freaking out!

Mini LF For Sale $72K USD K1.0024074 1x ALEXA Mini LF camera body — Hours 1169 (as of 6/14/22) K2.0014533 1x Gold Mount Adapter Plate MkII K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0024130 2x Codex Compact Drive 1TB (CA08-1024) K2.0020916 1x ALEXA Mini LF Multi Viewfinder MVF-2 K2.0023915 1x Cable VF (0.35m/1.15ft) K2.0023943 1x Cable VF (0.5m/1.5ft) K2.0023839 1x Mini Adapter Plate MAP-2A K2.0006140 1x Mini Viewfinder Bracket MVB-1 K2.73002.0 1x Center Camera Handle CCH-2 K2.0023546 1x Mini Side Bracket MSB-3 K2.0014957 1x Mini Side Bracket MSB-2 K2.0012692 1x Side Accessory Bracket SAB-1 K2.0014894 1x Compact Bridge Plate CBP-1 19mm K2.0013937 1x Rear Accessory Bracket RAB-1 K2.0023406 1x RAB-1 Clamp 2 K2.0006186 1x Rod Mounting Bracket RMB-3 K2.66255.0 1x 15mm Reduction Insert K2.75007.0 1x 3-Pin Power Cable K2.72021.0 1x 7-Pin to Ethernet 12” Dovetail Wooden Camera 1x SKU 271500 - A-Box for Mini LF Arri Codex Compact Drive reader USB-C (1st generation) Innerspace case

Mini LF For Sale $77K USD K1.0024074 1x ALEXA Mini LF camera body — Hours 1169 (as of 6/14/22) K2.0014533 1x Gold Mount Adapter Plate MkII K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0024130 2x Codex Compact Drive 1TB (CA08-1024) K2.0020916 1x ALEXA Mini LF Multi Viewfinder MVF-2 K2.0023915 1x Cable VF (0.35m/1.15ft) K2.0023943 1x Cable VF (0.5m/1.5ft) K2.0023839 1x Mini Adapter Plate MAP-2A K2.0006140 1x Mini Viewfinder Bracket MVB-1 K2.73002.0 1x Center Camera Handle CCH-2 K2.0023546 1x Mini Side Bracket MSB-3 K2.0014957 1x Mini Side Bracket MSB-2 K2.0012692 1x Side Accessory Bracket SAB-1 K2.0014894 1x Compact Bridge Plate CBP-1 19mm K2.0013937 1x Rear Accessory Bracket RAB-1 K2.0023406 1x RAB-1 Clamp 2 K2.0006186 1x Rod Mounting Bracket RMB-3 K2.66255.0 1x 15mm Reduction Insert K2.75007.0 1x 3-Pin Power Cable K2.72021.0 1x 7-Pin to Ethernet 12” Dovetail Wooden Camera 1x SKU 271500 - A-Box for Mini LF Arri Codex Compact Drive reader USB-C (1st generation) Innerspace case

For Sale : 2 Sony PMW-F55 Camera Packages $5,000 Each OBO. 1. 4737 hours 2. 3724 hours Packages Include : AXSR5 recorder, F-55 VF, Sony 7" HD LCD Monitor, Audio & Battery Adapters, Carry Handle, VF Cable, 2 X Sony 128GB SxS Pro + media with a matching reader OR 2 X Sony 512GB AXSM media (to record in 4K) and a matching reader. Maintained By Panavision

Arri Alexa Mini Camera Serial # 20340 6065 Hours Price : $29K USD Arri evaluation report available. 1- Antenna 1- Alexa Mini Battery Plate BAP-1 1- Arri 19mm BridgePlate Top (435) BP8 1- Alexa Mini Bridge Plate Adapter BPA4 1- Alexa Mini To RS Adapter (L7 F3) CBLE-AMRS 2- Alexa Mini VF (L16 MHDM) CBLE-AMVF 1- Alexa Ethernet 3M (RJ45 L 10) 2- Arri Amira/Mini 24V Power (L8 XLR3) 1- Arri Center Handle CCH2 1- Alexa Mini Shoulder Pad CSP1 1- Arri Eyepiece Leveler EL3 1- Pair Of Eyepiece Rods IRISROD 2- Alexa Mini Adapter Plate MAP-1 2- Alexa Mini LWT Rod Support Plate MAP-2 2- Alexa Mini Side Bracket MSB1 1- Alexa Mini Viewfinder Bracket MVB1 1- Amira/Mini Viewfinder MVF1 1- O’Connor Ultimate Arri Base Plate OUABP 1- Arri VEB3 Viewfinder EXT Bracket VEB3

Hey all. Happy holidays and happy new year. 2020 is now hindsight (thank god). First off, I have a lot of reverence for what you guys do. Many of you on this forum I'm a huge fan of, so it's an honor even in a small way to be writing this. So thanks for listening. Overwhelmed by choice overload. I tend to be a little too good at matching pros with cons and vice versa, so this amount of indecision (and the self-awareness about the indecision) has been difficult. Hence the need to reach out. I'll cut to the chase since I don't want to waste anybody's time. I'm looking to own a camera, thats what this is about. I've got enough $ to own a Komodo production kit with tax. I'll outline choices at the end. The purpose is for me to just feel empowered to get out and make films and work as a director / operator full time versus a owner / op who just rents his camera out to DP's other peoples stuff primarily. I do that for money occasionally the same way I color or edit or crew for people occasionally but my full step forward is towards going from one project to the next on my portfolio. Until then, here's a lot of ridiculous background and way too much information. I'm a filmmaker who prefers self-operating, but mainly for the intimacy and connection with the actors and for how it helps me concentrate, not because I consider myself a proper image-maker at heart, like I'm sure some of you do. My passion is mainly storytelling, not gear, though I'm well capable of digging into deep rabbit holes of technical details if it means getting exactly what I want when I want it. Background: age 25, Burbank-native, editor primarily (that's certainly where most of my superficial skills lie) I'm experienced in that I've made shorts since I was 10 years old. My first feature did get distributed by Gravitas and won a lot of awards - so I'm not totally untalented. But it was exhausting getting there. And in general, I hate the word "content" and have no intention of being a "content creator" at all, ever. Just want to keep telling stories in the way that feels truest to my heart, and make the strongest step forward. Life doesn't make a lot of sense when I'm not making films. And I need to make films right now. What's been hard is not having anything to express myself with. Like many of you, I'm relegated to primarily being at home, needing to channel energy. I've got stuff to shoot, I'm always writing and working with friends on writing films. I told myself I will just rent, that the entirety of hollywood infrastructure is built upon the idea that you don't own your own gear - that its better to just own lenses, which I still do. Logically, I still believe that. Emotionally though, whats been hard is not having that tool to express myself with. I know that theres an argument to be made for todays infrastructure being different from shooting 10 years ago, that being an owner operator now especially as a young person is fairly valuable. I also know its the story, performances, composition, movement, and lighting (in that order) that makes it, not the gear. Furthermore, Steve Yedlin's right. Camera's today are really just data collection tools. Even film cameras are glorified boxes the film goes through. I like being a colorist and relish the freedom it gives me. But its almost a separate part of my brain. The part of me on set thats connected to the actors and the story, that's the part I wanna grow. But still for me, film nearly always looks better. I have been fooled a few times, but only when they shot on anamorphic lenses. Linus Sandgren isn't wrong about the distortion of those being almost necessary in a twisted sort of way. His work, plus Maniac, 10 Cloverfield Lane, and a few others I find truly exceptional. If I'm to collect data, then the data I actually care about (which makes film superior) is the motion cadence of a global shutter, the ability to sandblast highlights and still have it look cool, and the ability to oversaturate or shoot in harshly oversaturated environments. That's the data set I'm looking for in a camera to own. Recently wrapped up a short on the Red Komodo which I made for an AFI application. Super happy with the image and versatility of R3D, which is inspiring in how it almost dares you to challenge it and push it to its limits. I love that you can beat the tar out of it in post and it never bands or splotches or falls apart. We even did a filmout from the R3D files to a 16mm sized portion of the negative at Fotokem, just to see how close Komodo could get to film, since its the first camera with films dynamic range and a global shutter. Astonished by the results - so much so I genuinely think I could film out everything I've ever done and get the best of both worlds (Most of my heroes are people who utilize the best of both, or create an invisible third option by kicking down the door) Still, something about shooting digital with that camera did not feel right to me. Could have been the stress of mounting COVID productions in general being a huge hassle, but also (while I appreciate lightweight cameras) I've never been a fan of feeling like I'm holding a DSLR. (Though BOY is it nice when you wanna shoot illegally. Had the Canon C70 existed before, my feature would have been completed considerably faster.) Tested the Varicam LT for the short first because that's been my favorite look on digital (perfect mixture of RED's cutting edge and Arri's painterly qualities) but weirdly, wasn't as good as Komodo, was heavy, and was bothered by the rolling shutter on that as well. Which was disappointing, because shooting 3200 iso in camera and NDing for exposure compensation is the closest I've seen to film grain yet. Plus Varicam colors are more Eterna than Vision3, and I'm definitely more of an Eterna guy. I've used lots of cameras, but owned only 2. HVX200 was the camera I learned on and in some ways it spoiled me. Got used to global shutter and undercranking & overcranking and timelapse photography and thick viewfinders and shooting to tape and it's been hard finding cameras that feel that level of satisfying. Owned a c100, but was never happy with it. Most of shooting my feature was about pushing that thing to its absolute limit in every conceivable way (to the point it stopped turning on altogether). After that, I owned the S1H for a bit, mainly because of my history with the HVX200 & how much I liked the Varicam. Sold it. Got WAY too into the whole idea of kitting it out to oblivion, trying to turn it into something its not - and became unhappy. Image was lovely but HATED the rolling shutter. Any readout 15ms or greater seems similar to the Haas effect in acoustics, where you don't truly perceive it until its in the 15ms to 30ms range. Though our eyes are way sharper (hehe) than our ears, so its probably more like 7ms or greater (at least for me). I've used lots of cameras, owned only a few. Mainly, the c100 Mark I, and the S1H for about 6 months. Unhappy with both. As badly as I want to like the EVA1, the image is beautiful, its the only camera I've ever used which actually enrages me ergonomically. That horrible plastic body and screen and clickless dial which makes menus impossible to navigate. Blackmagic is a fascinating player in the scene, and has the best menu system ever but I hate how every college kid or person my age uses them. I know you can color them to look however you want but I hate having to give myself so much to do, and I hate their lack of quality control. My choices so far have boiled down to these 3. I'm discounting options which I believe will be useless in 10 years. Komodo seems of all the new cameras to be the one best primed for the test of time, and the Alexas proven her stripes, and film, well, film is film. I want this to be (if at all possible) the last time I purchase a camera, at least for a decade. I also hate how every manufacturer uses the word FUTUREPROOF. 1. Red Komodo. Have the experience with it, love the image, and of course - the global shutter innovation makes it (to me) the most exciting digital camera in the world at any price level. I know people do get hired because of the Red bias, too, which is nice. Unless I get super creative though, it's gonna be forever till they actually get in stock. But: I can afford to get a decent run and gun kit, and after the initial charges, I'd never have to pay again to create, and I'd have the closest approximation to film motion cadence on a digital sensor. With that ND wheel from Kippertie it'll be great. Genuinely, I do feel its the ultimate tool for someone my age in the year 2020, if properly utilized (and yes, utilized in a way that's different from REDs design purpose). To me, it seems like Reds Mini. The Alexa Mini was a drone camera that became an A cam, too. I don't like having to lean down and look at that tiny screen, but part of me also feels this may help my compositions, and force concentration on framing better. I know I do function better with some limitations. All in all, I love the Komodo in spirit, mainly because it appeals to the more "fly by the seat of my pants" part of me, the one that believes in taking risks and stuff. The young punk, lol. 2. Alexa Classic. I don't need the resolution (2K's my favorite) and despite me hating the vanilla-ness of that choice - there is part of me that always thought, wouldn't it be cool to own that camera and really do some more extreme photography? Overexpose, underexpose, get grainy and nasty - i do have a little devil in there somewhere that feels he would enjoy that. Plus, its the standard. Menus are easy. Love the EVF. Much closer on paper to my experience with the HVX200 than the Red Komodo. Theres an appeal in that to me being that its the closest thing in digital to cutting out the bullshit. I've heard DP's articulate how that camera more than any other just allows them to focus on their creativity and their storytelling, and not worry about anything else. I do prefer the Varicam look over the Alexa, and the built in ND's. But the rolling shutter bugs me. And an LT is pretty hard to come by used. So a classic EV seems the most compelling option in the realm of "can't go wrong". But theres self-conciousness about wanting something so "safe" 3. Shoot film. My favorite look, the look I grew up on, is Super 16mm. I dream in 16mm, honestly. Specifically, the format from the 90s forward. Nearly all of my style comes in some way from Super 16mm or super grimy 35mm. Especially in 2020 with the advances in scanning I find the look to immediately be more like the 35mm of the 1970s. It's also the only format I've never seen any successful digital emulation of. Closest was operation avalanche. And that's because they actually filmed out, so it WAS 16mm. I know there's Arri SR's for decent prices, and CP16s, and Eclairs, and despite that essentially being a form of sinking myself into an endless money pit, buying into a dead technology, etc - I've also found more community talking to film people than any other group, and theres a general focus on creativity that seems harder to find in digital (though I know it exists). Only shot on a Bolex and a super 8 camera before so I'd be a huge noob. But I loved doing it. And unquestionably I know it would force me to grow the quickest. I'm attracted to the romance of it, and the idea of proving myself on it doesn't seem scary. What I know I'll miss is getting to do multiple takes with the actors, because I adore that experience of discovering things with them in the process, and not just shooting coverage. (BTW, I loathe coverage. I hate it. ) Nearly everyone I know tells me its a terrible idea to own a film camera and shoot on film. I can't logically disagree, but emotionally I've been torn. One of the best arguments I've ever heard for shooting film ironically came from Michael Cioni, talking about how film still is the only capture medium with a true 1:1 quality ratio (at least when captured correctly.) That idea of pure timelessness does quite a lot for me, but I'm very much not a believer in the sake of nostalgia for the sake of nostalgia. Filming out to a grainier portion of the intermediate stock looks more filmic than any filmout I've ever seen, and still preserves the spontaneity and magic of film, without any of the limitations or sacrifices. Especially if you shoot 35mm stills on set with the same lenses using Vision3 stock, you've got access (roughly) to the filmic color space that would be present on set, too, not just that of the final "patina" or "texture". Grain is grain, its cool but not everything. Color to me is everything. And for the record, while I'm on the subject of film, the only place digital always falls short for me is outdoors. Something about the harshness of the sun and the slightly blown highlights and halation that comes from shooting exteriors on film always feels like my own eyes. In LA too everything is always too sunny, I like how in film, theres almost that flickering red that you get in your eyes when you've looked at the sun too long, I love how film behaves a similar way. To me, so much expressiveness comes from being able to accurately capture the environment. I love how Elswit shot digital at night and film during day. If I could, I'd do that every day for every shoot, until a solution exists that trumps either of them in isolation. But again, too much wishful thinking doesn't do anyone any good. Anyone who made it this far, I'd love to know your unsanitized thoughts. There's no wrong answers, nor is there a perfect choice (as much as I'd like there to me). What I'm looking for is the right set of compromises, Thanks in any case for listening. Hope you're staying safe out there. Soren

Pictures listed on my Facebook listing here - https://www.facebook.com/marketplace/item/904249070263231 *Price* £9000 ONO Camera is barely used and in amazing condition. ProAV overview - https://www.youtube.com/watch?v=NNi7Bv3MPJk Please do not ask to break up the kit, I can't do it. Kit Includes: 1 x Kinefinity MAVO LF 6K Cinema Camera 1 x Kinefinity KineMAG+ SSD 500GB 1 x Kinefinity KineBACK 3 1 x Kinefinity KineEVF Full-HD OLED Viewfinder 1 x PL Mount with END 1 x E mount (Passive) 1 x EF Mount 1 x Kinefinity PD KineBAT 75Wh Battery Package 1 x 2 bay charger (Sony BPU) 1 x Smallrig Cage 1 x Movcam Baseplate 1 x KineMON-5U2 Monitor Complete Pack 1 x Kinefinity 100W Power Cord 1 x Kinefinity Kine Power Cord (D-TAP) - L-Type 0.8m 1 x Solid Case Full Frame / Large Format CMOS Sensor The Mavo LF uses a completely new 6K CMOS imaging sensor with over 14 stops of latitude for detailed, cinematic images. 6K acquisition allows you the creative control to crop and manipulate your image when delivering in 4K, or to downsample to very sharp 4K images with a low noise floor. While its large format 36mm x 24mm sensor gives superb low light, depth of field and dynamic range for detailed and cinematic images. 6K ProRes and Raw recording to Internal SSD's Mavo LF allows for several raw recording options, CinemaDNG or .KRW files at either 3:1, 5:1 or 7:1 compression for pain free post production. You also get the option to record in all the flavours of Prores up to Prores 444XQ for projects where raw recording is not necessary. All of this is recorded internally onto 7mm SSD's. Removing the need for expensive and large external recorders. > 14 stops with Dual Native ISO Mavo LF uses a whole-new large format 6K CMOS image sensor featuring a Dual Native ISO of 800/5120. This allows it to capture low-noise and wide-latitude images in regular scenes or low-light environments easily. Opening up a whole new world of potential for filmmakers looking to push the boundaries of what is possible in their productions. High Frame Rates at High Resolutions With 6k recording up to 75fps, 4K up to 100fps and 2K up to 200fps in either Prores or CinemaDNG raw, Mavo's frame rates certainly don't disappoint. The frame rate can also be specified exactly to an accuracy of 0.001fps. These frame rates can be quickly changed on the fly with the use of presets, changing sensor crop, frame rate, resolution, shutter speed and codec with just the push of a button. This makes the Mavo LF very fast to operate for solo operators, as well as providing reassurance that your settings are exactly how you want them. Compact Modular Design Despite the high performance of the Mavo LF, the physical size of the camera is remarkably small. Plus coming in at just 990g, the core of the camera is not only small, its light as well. This means the Mavo LF is perfectly suited to gimbal and drone operators looking for the highest quality in the smallest package. With the addition of the Sidegrip, Kineback-W and interchangeable lens mounts, Mavo is a very modular platform. Enabling you to customise the camera to your exact requirements. The whole lineup for Kinefinity (Terra 4K, Mavo & Mavo LF) has the exact same physical dimensions, ensuring compatibility of accessories across the range. Interchangeable lens mounts The Mavo LF ships with a KineMOUNT. This proprietary mount is used to attach a variety of adapters, so you can use the lenses of your choice. The KineMOUNT is designed to be light with active electronic contacts, allowing it to work with PL mounting adapter with /i tech and new cordless EF mounting adapter, EF mounting adapter with KineEnhancer, Nikon F mounting adapter, Sony E adapter, PL/EF mounting adapters with electronic NS, and more. Stunning Images Both MAVO and MAVO LF can shot high frame rates at 6K resolution, with the same superior image quality. Both cameras give you more than 14 stops of latitude, pleasing skin tones and shadow details which are preserved perfectly. With 6K 3:2 aspect ratio, in addition to the conventional 16:9 and 17:9 standard aspect ratio, the CMOS sensor can also provide a variety of image formats, such as 4:3 & 6:5 S35 anamorphic shooting. Even open gate 6016×4016 is an option, recording up to 24 million pixels! Smooth Post-workflow: ProRes444 and Compressed cinemaDNG Mavo LF allows for either Prores or Raw recording to give you a range of codecs suitable for editing and colour grading to simplify the workflow and provide the maximum room for post-processing. It’s capable of Apple ProRes, up to ProRes4444XQ in 12 bit and Prores 422 HQ in 10 bit or compressed Cinema DNG with a compression ratio which can be set to 3:1, 5:1, or 7:1. These CinemaDNG files are supported by Davinci Resolve natively, so you can directly import, edit and grade the CinemaDNG footage shot by Mavo in Davinci Resolve. No matter which compression ratio you choose, 3:1, 5:1 or 7:1, CinemaDNG is able to achieve the maximum quality images and allow the most flexibility for your colourist in post-production. Wireless Camera: KineBACK-W on DarkTower After inserting a wireless card (based on DarkTower platform) into the new KineBACK-W, Mavo and Mavo LF turn into a wireless camera: enabling wireless video transmission and wireless lens control (with supported Movcam systems). This greatly simplifies working with the camera and the accessories, with a reliable and durable wireless connection. The wireless video can work with 2000ft/3000ft based on different wireless cards(DT2000/DT3000).

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